Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Yet Another Terrific Album from Sharon Goldman

This is an album for jellybean thieves and those who love them. Not only is Sharon Goldman one of this era’s most brilliant tunesmiths, she also has a sweet tooth. If her lyrics are to be taken at face value, she also steals ice cream – or appropriates other peoples’, anyway. Behind her bright, shiny, catchy classic pop melodies and her symbolically charged imagery, there’s a devious streak. Sometimes it’s very funny, sometimes poignant, sometimes both at once. Perfect example: Short Brown Hair, the opening cut on her new album Sleepless Lullaby. It’s a classic Snow White/Rose Red dichotomy: the narrator’s cute blonde little sister gets all the attention, but this pensive, brooding brunette has something up her sleeve (actually in her pocket). By the end of the song, she emerges resolute and unchastened. That sense of triumph and indomitability has always been a backdrop on her previous albums, especially the 1999 cult classic Semi-Broken Heart, and it comes to the forefront here.

What’s new here is Goldman’s turn toward an Americana sound, backed tersely and soulfully by guitarist/mandolinist Thad Debrock, bassist Mark Dann and drummer Cheryl Prashker. Dann’s production is remarkably purist: the album has rich, practically analog vinyl feel, vocals up front, drums tastefully in the back, no cheesy autotune or computerized instrumentation anywhere.

The rest of the songs paint vivid pictures, especially the fingerpicked ballad Winter’s Come Around Again, a woman traipsing around in the snow looking for any possible sign of warmth. The title track, a slow, 6/8 country ballad is a knockout. Goldman has always been a good singer – on this album she has become a brilliant one, unselfconsciously plaintive and wounded. “I lie awake with my big mistake” comes across as understatement rather than overkill, enhanced by some soulful slide guitar work by Pat Wictor. House of Stone, a Rich Deans cover, is a country blues tune: with its succession of bitter imagery, it stands up alongside Goldman’s originals here. And the Americana-tinged Letters, a kiss-off ballad that starts out characteristically subtle and gets as vicious as she’s ever allowed herself to be, is righteously wrathful. Goldman then flips the script with Weekend Afternoon, a blithely upbeat country/pop hit.

The 6/8 jazz-pop song Time Is an Airplane is one of her most musically sophisticated numbers – and it namechecks the Cyclone rollercoaster at Coney Island, which makes it even harder to resist. Goldman wraps up the album by reinventing the Simon and Garfunkel chestnut Hazy Shade of Winter as piano-based art-rock, discovering a wintriness missing from the psych-pop arrangement of the original. It’s yet another display of smartly tuneful, captivating songcraft from one of the best songwriters you may have never heard of. Goldman’s next gig is at Brewed Awakening in Metuchen, NJ on Dec 16; watch this space for New York dates.

December 7, 2010 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Whispering Tree Waits in the Shadows

Plaintive, moody and often downright haunting, the Whispering Tree’s new cd Go Call the Captain is a strong contender for best debut album of the year. Pianist/frontwoman Eleanor Kleiner’s wary, pensive, unadorned voice makes a potent vehicle for their gothic Americana songs. Many of them are in stately 6/8 time, spaciously and tersely arranged with keyboards, guitar and frequent orchestral flourishes. The title track starts out as a plaintive Applachian ballad but quickly grows to a towering art-rock anthem:

False prophets, liars and thieves rule the world…
Pull the veil down over our eyes
While we frantically follow behind
I’d rather be lost than led by the blind

And unlike a lot of the songs here, it ends on an upbeat note. “We can rule the world,” Kleiner asserts, if we overthrow these monsters. Claustrophobia pervades much of what’s here, both metaphorical and literal, on the fast, oldtimey swing shuffle So Many Things – which Kleiner would gladly toss out the window, to watch them smash on the street and destroy all the memories attached to them – and The Tallest, which laments being surrounded by “rooftops stretching as far as the eye can see.” The bitter ballad Las Vegas has Yoed Nir’s cello combining with Thad Debrock’s pedal steel and Elie Brangbour’s incisive guitar for a bracing, uneasy undercurrent, and maybe the most haunting honkytonk piano solo ever. “Those colored lights they hypnotize,” Kleiner warns.

The late-summer ominousness of Something Might Happen is visceral, crescendoing with a biting guitar solo. The angst reaches breaking point on Soon, the darkest and most intense track here, Kleiner going as high and distressed as she can, the band taking it down and then back up again with a searing, psychedelic interlude. There’s also a pensive, slow number spiced with Beth Meyers’ plaintive violin, a surprisingly jaunty mandolin tune and the apocalyptic closing track, Washed Ashore. Fans of the Handsome Family, Nick Cave, Liz Tormes and Mark Sinnis owe it to themselves to get to know the Whispering Tree.

August 4, 2010 Posted by | Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | 2 Comments